7 2 Aesthetics And Kant

Philosophy and Kant (1724-1804) began German classical philosophy - a new stage in the development of philosophical knowledge. The basis of the coup , implemented by Kant, put the idea of ​​creative activity of the subject of knowledge. In the second ( critical , 70-90 18th century c) the period of creativity. And Kant developed the theoretical foundations of cognitive activity based on the idea of ​​the activity of the subject of knowledge. The aesthetics of the post is fundamental in his philosophical system, since it is considered the final element of the transcendental and dealism In epistemology and Kant, it is an ascendant shop of the cognitive process, because it provides material (sensory perceptions) for the activity of the mind. The latter produces forms of cognition, formalizing sensual impressions, and encourages the mind to create and rye to create.

Ideas of aesthetics And Kant outlined in his early work Observations on the feeling of the beautiful and the sublime (1764); contains the work Criticism of pure reason (1781) The nature of the completed system they acquired in pra a Critique of judgment ability (1790) It was in his philosophy that the essential unity of philosophical and aesthetic concept was first built. Unity was called a definite place in ancient philosophy on the grounds that aesthetic laws relied on the basis of the cosmic integrity of being and human knowledge in theory and Kant, the basis for proving the organic nature of aesthetics as part of philosophical knowledge is not an ect with its properties, and the subject and its spiritual structures Criticism of the ability of judgment ) Accordingly, they are realized by the higher spiritual structures existing in man: by reason, intellect and ability of judgment, to Autry comprehend the whole range of possibilities of human intelligence. Each ability acts in its own sphere on the basis of its a priori (to the experimental) principles: reason regarding nature; mind regarding freedom, i.e. moral self-fulfillment of personality; reflective ability of judgment - according to expressive forms of reality and art in the Critique of pure reason , defining sensory knowledge in intellectual duality, and Kant writes: Any of our knowledge begins with feelings, then goes on to reason and ends in reason above of which there is nothing in us for processing contemplation material and for summing up to a high quality of thinking [10, p 340] In the Critique of Judgment Ability , defining the abilities of the human soul, the philosopher notes: they are reduced to three: cognitive aids, sense of satisfaction and dissatisfaction and abilities of desire [9, p 956] Therefore, cognitive ability is connected with the mind, which explores the concept of nature and ascribes to it the law, the ability of desire as the highest ability realizes freedom with the help of reason; The aesthetic ability of judgment is the ability to think special as such, contained in general. It is the ability of sensory cognition — the subject of aesthetic, developed in its laws, that made it possible to unite all human abilities into integrity — the subject of aesthetic, detailed in law, gave us the ability to do everything. people zdatnost.

No less important for creating the integrity of spiritual experience was the idea of ​​And Kant regarding a priori forms of knowledge. She helped the philosopher to solve the contradiction between the universal and the single in the media. Experience According to And Kant, all universality and necessity of judgments is due to a priori forms having a subject's cognitive ability Therefore, the purpose of the analysis is to find the appropriate object a priori form of judgment. The sphere of aesthetic such an a priori form arises the concept of expediency . He and Kant notes: The expediency of nature is a special a priori concept, which has its origin exclusively in the reflexive ability of judgment [9, 1025] Its importance in aesthetic judgment is due to the fact that it is able to sum up the empirical data the law is, the sense of pleasure or displeasure, as well as the ability of judgment, has certain general and a priori conditions as a condition, namely, the principle of expediency. The concept of expediency has to do with natural phenomena, according to consequences of human activity, in particular art. The essence of the principle is a certain correspondence between nature and our cognitive ability in our own health.

The philosopher distinguishes between two types of reflective judgment: teleological and aesthetic. The teleological ability of judgment is not related to the ability to manifest goals in the object itself, but is our ability to think and expediency in our subjective reflection about nature. Teleological judgment compares the concepts of nature product according to what it is, with what it should be Aesthetic ability is connected with hearing pleasure and displeasure. Satisfaction is due to the appropriateness of the photo. rm nature of our ideas about nelennyam about neї.

Aesthetic expediency of nature, as it appears aesthetic imagination, precedes knowledge Based on the introduction of the concepts a sense of satisfaction , reflective ability of judgment , the principle of expediency and Kant building a theory of aesthetic as a special type of spiritual experience, where the central problem arises of the specifics of aesthetic judgment, or otherwise: the ability to judge the beautiful, i.e. the theory of aesthetic taste, and he distinguishes between the concepts aesthetic judgments of reflection and aesthetic judgments of feelings, perfection of the subject, and the expediency of the subject, objectively expedient and subjectively expedient And Kant also expresses the difference between the concepts feeling and feelings , where the initial part of the ability of judgment is sensation due to the effect on the senses of things and phenomena of the objective world. Feeling is external sensations of feelings, and these are subjective representations I am about objects An aesthetic will be a judgment, the basis of which is a feeling, it is connected with a feeling of pleasure or displeasure. So, green meadows are in a more sensational way; pleasure (pleasure) is a subjective feeling Aesthetic contemplation, as well as a judgment of taste, not of a cognitive nature. Pleasure connected with the beautiful has that particular that it is free from any interest as opposed to good and useful, inseparable from interest. And Kant affirms the creative nature of the aesthetic, since the sense of beauty is inside the outer criterion of the aesthetic. Free admiration is really a human measure of attitude. By the way in general, universality is a manifestation of the universally significant with respect to the ability of pleasure and displeasure for each subject. Thus, the judgment of taste is associated only with the feeling that there is harmony in the play of mental forces As such, it is really a manifestation of human creativity. Freedom of relationship in the aesthetic as a real basis for the work of Yak taka, it’s true - it’s true to people’s creativity. Freedom in the aesthetic in I. Kant approves yak spravzhnu pіdstavu creativity.

Despite the fact that aesthetic judgment has its source not objective rules of taste, but the feelings of the subject, it does not deny a certain empirical criterion for all peoples regarding this feeling and a certain common basis. Again, judgments about the forms in which objects are given to us Consequently, the question arises samples of taste and the concept of the idea of ​​taste In connection with the concept of the highest sample, the prototype of taste, Kant considers the relationship of idea and ideal there can be no talk about some sample of taste, since judgment of taste is always t Vororsky process, but you can talk about the idea of ​​taste A prototype of taste can be represented not only with the help of understanding, but also as sensory given - in a single image The idea means a certain concept of mind, and the ideal is the idea of ​​a single entity, adequate to any idea [9, p. 1082] Having considered the problem in a cue way, and Kant emphasizes that the ideal cannot be an indefinite beauty, but always a fixed beauty. Thus, the interpretation of the relation of concepts idea and ideal in Kant I close to Plato's aesthetics And Kant, there must be an idea of ​​reason, on which inner possibility depends on the subject, you can’t talk about the ideal of beauty where beauty introduced , where it is conditioned by certain colors external to the subject of judgment. about the beauty of a dwelling house, the beauty of a tree, the beauty of a garden, etc., since it is impossible to imagine their ideal. After all, the goals here are not sufficiently fixed and undetermined. Only that which has its own purpose in itself, namely, a person can be ideal of beauty, t Moreover, as among all the objects of the world, only mankind in his face as a thinking being can be an ideal of perfection [9, 1083] It is a man as a thinking being who is able to define goals and act according to them, can be depicted quite specifically - in a sensual image there is, an aesthetic idea can acquire sensually perceived forms, being the personification of the generic virtues of mankind. And Kant emphasizes that this is the image that nature has established as a type for its creatures. This is, in fact, an idea of ​​beauty, and not its full prototype is a form of any beauty, which is a condition of correctness in the image of the birthplace, the beauty of beauty, and not the perception of a preimage. This is the form of all beauty, mindfulness in the image of the genus.

The ideal is also possible as the sensual embodiment of the moral qualities of a person in their perfect discovery, postulating the idea of ​​pleasure and dissatisfaction as defining the specifics of the aesthetic relationship, and Kanthe notes: The subject of satisfaction that inspires judgment of taste to freely interact with it without any interest is wonderful there is, this statement of judgment about satisfaction, which, in its qualities, gives rise to an object in itself, without any introduced goals. This is quite free and the quality of feelings is the common sense arising from the free play of our cognitive ability. If there is such a joint feeling, a judgment of taste can be expressed. Judgment, which is the unity of knowledge and belief, must necessarily be able to be communicated to everyone All-Vagant feelings provides a general feeling, but because it can be recognized a necessary condition for the universal community of our knowledge [9, 1089-1090] Based on the above, philosophy introduces feelings in a holistic system of logical foundations and principles of knowledge, a system of logical concepts and principles and principles.

Expanding the originality of feelings in relation to his subject, and Kant comes to the conclusion about the qualities of the latter: What is wonderful is cognized without the help of the concept as the subject of the necessary ud volna [9, 1091] The basis for the universality of judgment of taste And Kant considers pure the notion of the mind of the supersensible nadchuttve.

And Kant distinguished two types of judgment in aesthetics: along with the already characterized ability of judgment about the beautiful, the philosopher emphasizes the ability of judgment about the sublime. The judgment of the sublime connected with the notion of the infinity of the world and its individual manifestations. beautiful - qualitative Excellent is the attitude of our spiritual structures to the beautiful and the sublime If the beauty of nature itself is the subject of sense gratification, the sublime engages the relation of the idea of ​​mind in the real world. In the real world, we can find an object suitable for displaying the idea of ​​the sublime, lives in our soul, although the sublime concerns only the ideas of the mind and cannot have a corresponding reflection. not exalted, but a terrible Soul must be full of ideas in order to experience an uplift in contemplation of the elements. Accordingly, sublime, depending on the characteristics of a judgment about the subject of non-indifference, will be divided on the mathematical and dynamic exalted The first type is the comprehension of the quantitative characteristics of the object, the second is the elevation of the human spirit over the large-scale manifestations of natural elements. The pleasure from the sublime is associated with a sense of admiration and respect. the power of the spirit, towering over the elements ostі pіdneseny.

An important place in aesthetics and Kant belongs to the theory of art. Art is characterized as a special kind of creativity - through freedom, that is, through arbitrariness, lays the basis of its activity on the mind (course of cars - In M) n [9, from 1164] It differs from skills and knowledge, from craft, in all free arts, the spirit must be free and Kant divides art into mechanical and aesthetic In terms of mechanical means the ability to substantively form a whole Aesthetic arts, in turn, are divided by a pleasant and elegant If pleasant are just for enjoyment and entertainment, the graceful contribute to the culture of the soul’s ability to communicate between people. The purpose of art of the latter type is And Kant sees not to give pleasure only by feeling, but also and satisfaction of mind Let us emphasize: the philosopher considers the named type of art to be the main one: aesthetic art as refined art is one that has as its measure the reflexive ability of judgment, and not a sensual sense of me [9, p. 1167] the expediency should appear easy, i.e. organic in its vitality, mystical understanding of the position of nevususchennom, tobto organics of his own life.

And Kant clearly distinguishes between artistic genius ( natural gift of art ) and talents in the field of science: genius gives rules, rich material for works of art, although the processing of ideas and form require talent brought up in school. Exquisite art is the art of genius, although indispensable it is also somewhat mechanical, which can be comprehended using the rules [9, 1172]. It is important to emphasize the latter, since in the aesthetics of irrationalism, it declares its connection with aesthetics of Kant, this idea is in no way involved, left I ignore In the same plane is related to the consequences of artistic activity and: a characteristic feature of irrationalism is the lack of an aesthetic criterion for evaluating art. The philosopher notes: Beauty in nature is a beautiful thing, and beauty in art is a beautiful idea of ​​a thing [ 9 from 1173] Here one can feel a roll with Aristotle’s mimesis theory, which can be traced in the philosopher’s thought: The refined art reveals its advantage in that it perfectly describes the things that are in nature Rni or disgusting [9, 1174] That is, imitation - in no case copying, and creative understanding by means of the beauty art of the natural world (the idea of ​​beauty) Opinion And Kant also directs us to the idea of ​​Baumgarten on aesthetics as a science of beauty Thinking about the Chinese Magazine Stosovno aesthetics Yak science about beauty mislenna.

Based on the analysis of the nature of genius, Kant regards imagination as the productive ability of knowledge. Imagination creates, as it were, a second nature from material, gives it true nature. The property of a genius is the ability to depict aesthetic ideas.

According to the tradition that has developed since the time of Aristotle, Kant gives a classification of types of art, dividing them into verbal, pictorial and art games of sensations. The essence of art, in particular the verbal philosopher, is that it not only speaks ideas, but gives reason and with the help of imagination, he enlivens his concepts [9, 1185] Fine art or the art of expressing ideas in sensual contemplation, is either the art of sensual truth, or the art of sensual visibility. The basis of both, as well as in The art of poetry and eloquence is entrusted with an aesthetic idea — an archetype, similarly to the art of refined play of sensations (music and the art of paint); recognition of his beautiful play of feelings, i.e. recognition of the objective qualities of a piece of music as such harmonizes the spiritual structures of the perceiver PERSONALITIES and individuals.

Despite the criticism of its individual aspects, aesthetics and Kant emerge as an organic component of philosophical knowledge as an integral system of human cognitive abilities.